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BRAHMS: Symphony No. 4 / Hungarian Dances Nos. 2, 4-9 (orch. Breiner)

Composer(s):Brahms, Johannes
Artist(s) Alsop, Marin, Conductor • London Philharmonic Orchestra
Period(s) Romantic
Genre Classical Music
Category Orchestral
Catalogue 8.570233
Label Naxos
Quality   320kbps
 
 
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8.570233
 


“With this opening release (Naxos 8.557428 – Brahms Symphony No. 1), we can only sit back and wait with tremendous anticipation for the remaining three symphonies to be released. This is a recording that can be set alongside Klemperer and Karajan and hold pride of place.” (MusicWeb- International)


   




Review By Penguin Guide,January 2009

Recorded in vivid sound in the Blackheath Concert Hall, with vivid separation heightening the impact of Marin Alsop’s clear and direct interpretation, this stands high among recent recordings of the Fourth Symphony…the bonus Hungarian Dances come in new arrangements by Peter Breiner that are very successful indeed.



Review By Michael Southern,Australian Hi-Fi,November 2007

This disc completes Marin Alsop’s cycle of Brahms Symphonies for Naxos, and what a tour de force it has been. It is an incandescent performance of the fourth with great stature throughout and a particularly exciting finale. The Hungarian Dances make a perfect foil, and again these performances rate highly, but are up against one of the best recordings ever made of these works, the complete set by the Budapest Orchestra, also on Naxos. The LPO is in top form.



Review By Giv Cornfield,The New Recordings, Cliffs Classics,October 2007

Conductor Marin Alsop is currently riding a well deserved wave of adulation, which is a bit of a novelty in the symphony music world, all the more so in Britain. This recording—as do indeed her other Brahms symphony recordings—deserves nothing but the highest praise. The arranged Hungarian Dances sound brighter than any other recordings of these over-exposed works.




Review By David Denton, Naxos,September 2007

We have reached the final installment in Marin Alsop’s fresh faced cycle of the Brahms symphonies where there is nothing added and nothing taken away from the printed score. Her tempos seem to be self-selecting in the natural flow of the music, and with dynamics never slavishly adhered to, it is the shape of the music that dictates her approach. There is no false pretence at digging deep below the music’s surface, Alsop avoiding those mannerisms that are often described as insights. In the Fourth she brings out all of the drama present, while in the slow movement she benefits from the warmth and round tone of the LPO strings, the orchestra more suited to Brahms than any other present London ensemble. The opening movement unfolds without rushing, and by contrast I much

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